LATEST ADDITIONS

Holst: The Planets & Cheetham Fraillon: Earth, Deborah Cheetham Fraillon, soprano; MSO Chorus; Melbourne Symphony Orchestra/Jaime Martín; Rachmaninoff: Piano Concerto 3, Yunchan Lim, piano; Fort Worth Symphony/Marin Alsop; Mozart: 6 String Quintets on Historical Instruments, Spunicunifait; L'Extase: Debussy & Messiaen, Magdalena Kožená, mezzo-soprano; Mitsuko Uchida, piano.

Linda May Han Oh: Strange Heavens; Julian Shore Trio: Sub Rosa; Pete McGuinness Jazz Orchestra: Mixed Bag; Mark Masters Ensemble: Dance, Eternal Spirits, Dance!.

Pulp: More; Lord Huron: The Cosmic Selector, Vol. 1; Craig Finn: Always Been.

Five decades later, even dedicated fans of former Procol Harum guitarist Robin Trower have had to admit that they appreciate his solo albums for more than just his guitar gluttony. To be sure, For Earth Below's title track and his other blues-rock jams, obviously influenced by both the tone and approach of Jimi Hendrix, are foundational for today's stoner-rock subgenre.

As much as I love my stereo system and listening to music through two speakers, some recordings just can't be bound by the limits of stereophony. For instance, Carl Orff's epic cantata Carmina Burana. Sure, I've heard successful stereo versions, but listen to the four-channel Quadraphonic mix of the classic 1974 recording by the Cleveland Orchestra, Chorus and Boys Choir, conducted by Michael Tilson Thomas, then decide whether stereo still does it for you.

Outside of Vincent Van Gogh, Brian Wilson had the most infamous—and ultimately the most valuable—left ear in the world. Wilson—the chief architect of countless Beach Boys pop classics, who passed away at age 82 on June 11, 2025—lost the hearing in his right ear at an early age. One could reasonably argue that he only ever heard all the sonic masterpieces he constructed, for that quintessential California band he cofounded, in mono.

"Art is the only political power," the artist Joseph Beuys once said. If only it were true. Often, when power is wielded against an entire people with enough brutality and efficiency, it reduces the culture to a sickening silence, leaving room only for state-sponsored propaganda. Think of the Soviet Union under Stalin, or Germany during the Third Reich. But in other, rarer cases, repression is met with an efflorescence of great art, like a charred field welling up into a riot of wildflowers.